the kahala magazine, volume 9, issue 1 2014

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C O N T E N T SVolume 9, Number 1

ON THE COVERThere is a kind of art in making the perfect cup of tea. Here, photographer Linny Morris captures the serenity one finds in a soothing cup.

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Fea ture s

29 Pupu‘oNi‘ihau:ShellLeisofNi‘ihau In this excerpt, one of the leading experts on these unique

works of art relates the stories behind the leis’ names.

Story by Linda Paik Moriarity

36 TheSpiritofHawai‘i Where once mainland architects re-created Western

European buildings on Hawaiian soil, today their designs are adapted to and inspired by the Islands themselves.

Story by Michael Webb

42 EthnicTwists Fusing ingredients from different cultures is a signature

of Island-style dining in Hawai‘i.

Story by Mari Taketa Photography by Carin Krasner

48 AnEnduringTradition The only remaining Japanese teahouse on O‘ahu, historic

Natsunoya Tea House has seen the best and worst of times.

Story by Thelma Chang Photography by Linny Morris

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66 Editor’s Note

Depar tmen t s

13 PROFILES: A Long Journey to Paradise HousekeeperKhamponePhommavonghasbeenwithTheKahalafor nearly30years.Thejourneythatbroughthimhere—fromKhmer-ruled LaostotheserenityofO‘ahu—isatonceharrowingandinspiring. StorybySimplicioParagasPhotographybyDanaEdmunds

19 INDULGENCES: Talking All That Jazz FoodandBeverageDirectorToddOldham,amusicianinhisownright, dishesonthetalentedartistswhoseperformancesmakeTheVerandaa popularvenueforloversofjazz,betheyguestsorlocals.

StorybyElizaEscaño-VasquezPhotosbyDanaEdmunds

23 IMPRESSIONS: Pacific Connections ThenewPacificHallattheBerenicePauahiBishopMuseum isajourneyacrosstimeandimagination,withexhibitsthatillustrate theancientandcontemporarytiesbetweenallPacificpeoples.

StorybyLynnCook

55 TRANSLATIONS

ByChihiroKitagawaandMutsumiMatsunobu

64 Memory Book

C O N T E N T SVolume9,Number1

THE KAHALA8

Edi tor ’s Note

Hawai‘i is often called the Crossroads of the Pacific, an apt nickname for this in-tersection of culture, ethnicity and history. For Hawai‘i is more than a mere geographic center, a stopover on the way to another place. For centuries it has been the destination itself for settlers from around the world—traveling by canoe, tall-masted ship, ocean liner or jumbo jet—bringing with them their art, cuisine and traditions. Over the years, these cultures have lived side by side, complementing each other and often blending together. In this issue of The Kahala magazine, we explore this theme of interconnected-ness, the links between man and nature, past and present, diversity and unity.

When annexed by the United States in 1898, Hawai‘i became a magnet for main-land architects, whose designs were essentially transplanted re-creations of European

buildings. In “The Spirit of Hawai‘i,” Michael Webb shows us how today’s mainland architects create homes for their clients on the Islands, embracing an enlightened design, one that adapts to the environment, uses local resources and strives for sustainability.

The ancient art of making püpü ‘o Ni‘ihau (Ni‘ihau shell leis)—the painstaking process of collecting and sewing together tiny shells—is a tradition that has remained unin-terrupted for centuries. In this excerpt from a text by Linda Paik Moriarty, considered one of the leading experts on these leis, she describes the many styles of püpü ‘o Ni‘ihau and explains the names behind each type of lei.

Culinary blending is the topic of “Ethnic Twists.” Here, Mari Taketa describes the ingenious ways home chefs as well as those at The Kahala incorporate ingredients from different countries to create their own unique dishes. (We’ve included four of these recipes for you to try at home.) Exotic ingredients are commonly found in markets and on kitchen shelves throughout Hawai‘i, making them staples in Island cooking.

With connections both historical and traditional, the Natsunoya Tea House is the only remaining Japanese teahouse on O‘ahu. Thelma Chang relates the story of this establishment—now in its third generation of family owner-ship—the famous people it has hosted, how it has adapted to changing tastes and its fascinating role in world history.

Lynn Cook takes us on a journey through the Bernice Paiahu Bishop Museum’s newly renovated Pacific Hall, whose theme is the interconnectedness of the Pacific peoples. Ancient artifacts and contemporary works from throughout the Pacific region illustrate the ways the ocean connects rather than divides us.

We also visit The Kahala with stories about two of its staff: Khampone Phommavong, whose journey from Laos under the Khmer regime to Hawai‘i more than 30 years ago is at once harrowing and inspiring; and Todd Oldham, whose background as a drummer gives him particular insight into the jazz scene at The Veranda.

We hope these stories inspire you to make your own connections with Hawai‘i’s history, culture and traditions.

—Margaret Martin

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In this issue of The Kahala magazine, we explore the theme of

interconnected-ness, between man and nature, past and present, diversity and unity.

ADVER TISINGGroup PublisherKathleen M. [email protected]

Account ManagersKatherine [email protected]

Wanda [email protected]

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Advertising Sales(808) 955-2378

EXECUTIVEPresidentDonna W. Kessler

Vice President of OperationsAngela E. Allen

PRODUC TIONDirector of ProductionKris Miller

Product ManagerJasond Fernandez

Production ManagerBrittany L. Kevan

RetouchingJerry Hartman

The Kahala (Vol. 9, No. 1) is published by Where Hawaii, 1833 Kalakaua Ave, Ste. 810, Honolulu, HI, 96815

Copyright© 2014 by Morris Visitor Publications. All rights reserved. This publication may not be reproduced or transmitted in any form or by any means, in whole or in part, without the

express prior written permission of the publisher. The publisher assumes no responsibility to any party for the content of any advertisement in this publication, including any errors and

omissions therein. By placing an order for an advertisement, the advertiser agrees to indemnify the publisher against any claims relating to the advertisement.

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EDITORIAL Chief Creative OfficerHaines Wilkerson

Senior Regional Editorial DirectorMargaret Martin

Design DirectorJane Frey

Photography DirectorSusan Strayer

DesignerTeri Samuels

Contributing WritersThelma Chang, Lynn Cook, Eliza Escaño-Vasquez, Simplicio Paragas, Mari Taketa, Michael Webb

Contributing PhotographersDana Edmunds, Olivier Koning, Carin Krasner, Linny Morris

Japanese TranslationChihiro KitagawaMutsumi Matsunobu

MANUFAC TURING & TECHNOLOGYDirector of ManufacturingDonald Horton

Technical Operations ManagerTony Thorne-Booth

M O R R I S CO M M U N I C AT I O N SChairman & CEO

William S. Morris III

PresidentWilliam S. Morris IV

Regional Vice President and PublisherPatti Ruesch

[email protected]

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13THE KAHALA

Profiles

Ad

e couldn’t see. He couldn’t speak. He couldn’t hear. He couldn’t

even move. In a coma-like state, Khampone Phommavong thought he was already dead. So, too, did family members who began the Laotian tradition of swathing the deceased in cloth and massaging the body.

And then, he twitched.

“When they unwrapped me, everything came back,” says Phommavong, his eyes wid-ening as he recounts his near-death experi-ence as a 14-year-old growing up on a hillside in Laos during the 1960s, a time when there were neither doctors nor hospitals. “I could see again. I could hear again. I could speak again. I could move again.”

HKhampone Phommavong (above) has been with The Kahala since 1988 and is known for his genuine help-fulness and work ethic.

A Long Journey to Paradise

A Long ong on JoJoJ

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Housekeeper Khampone Phommavong’s amazing odyssey from Laos to The Kahala

STORY BY SIMPLIC IO PARAGAS P H O TOGRAPHY BY DANA EDMUNDS

Ad

Profile

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Phommavong takes great pride in keeping the hotel’s windows spotlessly clean so that guests have a clear view of The Kahala’s beautiful grounds.

By all accounts, it was a miracle. Days later, his parents would take him to a nearby Buddhist temple, thinking that their son could be the next Dalai Lama. He studied and taught at the monastery for 18 years until embarking on a perilous journey to reunite with his broth-er in Hawai‘i. Married and with two infant sons, Phommavong hired a taxi to drive them to a pier on the Mekong Delta.

“I left my country in 1980 at 7 p.m. and it was 1 a.m. when we boarded the boat,” Phommavong recalls. “I had to drug my sons so they wouldn’t cry; we had to be quiet because

the army was patrolling the Mekong, and if you didn’t have money to give them, they would shoot you. It was very dangerous but we wanted to escape the Khmer regime.”

At 5:30 a.m., they arrived at Nong Chan in the Sa Kaeo Province of Thailand, which was one of the earliest organized refugee camps on the Thai-Cambodian border. They joined thousands who had also fled their homes seek-ing food and health care amid the volatile political climate of Southeast Asia during that era.

After eight months at the camp they were displaced and moved to Lumpini near Bangkok, where they waited for their visa interview at the U.S. Embassy. Four days later, Phommavong was told to show up at the embassy. The next day, he and his family were on a plane destined for Hawai‘i.

“We had only one bag and it wasn’t very big,” says Phommavong, indicating with his hands the shape of a carry-on bag. “When we landed in Hawai‘i, I felt I was reborn; I was so happy.”

After living with his brother for a month, Phommavong found a new home for his family and a new job as a janitor at the Elks Club. Eight years later, a frequent member of the club suggested he apply for a job at the then-Kahala Hilton. The year was 1988, and the now 62-year-old housekeeper has been here ever since. In 2013, Phommavong was a runner-up for the prestigious Na Po‘e Pa‘ahana Award for Housekeeper of the Year, honored for his outstanding service to the hotel and its guests.

“I have no plans to retire,” says Phomma- vong with a gentle smile. “I like working in housekeeping because it keeps me moving all the time. And I like the people.” ❀

Profiles

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“When we landed in Hawai‘i, I felt I was reborn; I was so happy.” —KHAMPONE PHOMMAVONG

19THE KAHALA

HE KAHALA’S DIRECTOR of food and beverage, Todd Oldham, knows a thing

or two about music. During his tenure as an executive chef while living on Kaua‘i, Oldham spent his spare time playing the drums with some of the island’s finest musicians.

“I was fortunate enough to be able to play with some very talented musicians over my 15 years on Kaua‘i. The level of musicianship on

Kaua‘i is high, but there aren’t a whole lot of drummers. This gave me the opportunity to play with people that I would not have been able to in a typical environment.”

The modest Oldham would switch his chef whites for a suit (or more likely an aloha shirt) in 2005 when he became director of food and bever-age for Starwood Hotel’s Sheraton Kauai Resort and Westin Princeville Ocean Resort Villas.

Indulgences

Food & Beverage Director Todd Oldham dishes on

The Kahala’s music scene

STORY BY EL IZA ESCAÑO-VASQUEZ P H O TOGRAPHY BY DANA EDMUNDS

T

TalkinggAll That

Food & Beverage Director Todd Oldham dishes on

The Kahala’s music scene

Jazz

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“I had been in a kitchen for well over 20 years, both as a line cook and a chef,” said Oldham. “It was a tough transition. Cooking had defined who I was. I had worn the white coat for over two decades, and for the first year it felt like I had lost a part of myself. A director role is very consuming. I quickly realized that there was an entire world outside of the kitchen that needed to be learned. As the director of food and bever-age, I feel as if my culinary experience enables me to lobby for the kitchen team and create bal-ance between the back and front of the house.”

Oldham’s passion for both music and the culi-nary arts made him a perfect fit for The Kahala, and in June 2012 he moved to Honolulu to

“We’re fortunate to have some of Hawai‘i’s most accomplished players here every week.”

Indulgences

join this luxury resort’s management team. Not only is he overseeing the operations side of The Kahala’s restaurants, lounges and round-the-clock room service, Oldham is also curating tal-ent for The Veranda’s Jazz Mondays.

“The level of musicianship is just astound-ing,” said Oldham. “We’re fortunate to have some of Hawai‘i’s most accomplished players in The Veranda every week. These people are the top in their field. Occasionally we get surprise visitors. A few months ago drummer and jazz legend Harvey Mason performed here with keyboardist Michael Ruff, Robert Shinoda and Dean Taba. Watching Harvey play with the guys I see here each week was an incredible experience. We also had Bonny Bonaparte, the former drummer for Spyro Gyra, play here on numerous occasions. Bonny plays with what I can only describe as pure joy.”

Whether serenaded by the legendary sounds of the Honolulu Jazz Quartet, guitarist Robert Shinoda (accompanied by Dean Taba on bass and DeShannon Higa on trumpet) or jazz pia-nist David Swanson, guests will delight in the quiet elegance of The Veranda’s newly renovated interior. The indoor and outdoor alfresco seating overlooks the pool, ocean and dolphin lagoon.

So what else can perfectly close out the eve-ning? “Something classic, with a modern twist,” offers Oldham. “Our ‘Mad Men’ with small-batch rye, lemon and club soda, or a cucumber gin and tonic for warm summer nights.” ❀

Above, left: Jazz pianist David Swanson. Above, right: DeShannon Higa (trumpet), Dean Taba (bass) and Robert Shinoda (guitar).

23THE KAHALA

he ocean unites, not divides. For centuries, the people of the Pacific

have traveled its blue highways, establishing settlements and developing new cultures on thousands of islands along the way. Theirs is a story of interconnectedness, of a shared past and present. The world they created, diverse yet similar in many ways, is the focus of Pacific Hall at the Bernice Pauahi Bishop Museum in

Honolulu, which contains one of the world’s foremost collections of Pacific Island artifacts.

Formerly the Polynesian Hall, Pacific Hall—the new name expresses the broader geo-graphic territory represented in the museum’s holdings—opened in September 2013 after an $8.5 million renovation that changed it from a static and staid exhibition room to a living, interactive experience of sights and sounds.

Impressions

STORY BY LYNN COOK

T

Pacific Connections

STORY BY LYNN COOK

History comes alive at the Bishop’s new Pacific Hall

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footage that puts the viewer into the canoe as it seemingly slices its way through the open ocean. Whether viewing the boat from below or from the second floor, visitors say they can actually sense the movement of the ocean.

At the top of the stairs and facing a map of the Pacific nations is the mural ‘Anu‘u Nu‘u Ka ‘Ike, representing the various layers of land, sea and sky. The mural speaks to the collective Oceanic origins, continuing connections and shared future of the Pacific peoples. The work itself is the result of a collaboration among 30

Pacific Island artists, including renowned Hawaiian masters Meleanna Meyer, Al Lagunero, Harinani Orme, Kahi Ching, Solomon Eos and 10 students, and was painted at the museum in May 2013. The three-dimensional mural can be moved and changed, reminding the viewer that art is not static, and contributing to the hall’s goal of being an interactive and innovative space.

The Pacific Hall’s exhibits are organized conceptually, rather than chronologically or geographically, to illustrate the theme of interconnectedness. Long feather cloaks, masks made from human hair and tall, carved drums join displays of spiritual idols and models of canoes. Ancient works of art are presented

Impressions

On entering the hall, one is immediately struck by a sense of movement and openness. The eye moves from the floor’s inlaid wood map of the Pacific nations to the new koa wood staircase leading to the second floor and to the open beams of beautifully restored koa wood reaching from floor to ceiling, culminat-ing in great arches. From the ceiling hangs a traditional Fijian fishing canoe and parallel to it a 35-foot double-sided screen on which are projected images of people singing and danc-ing, sailing and fishing, interspersed with film

THIS PAGE: (Clockwise from top left) Canoe models from the Car-oline Islands and Manihiki, Cook Islands; “Master Navigators of the Sea” display; double sailing canoe, Cook Islands. PREVIOUS PAGE: Main fl oor with ‘Anu‘u Nu‘u Ka ‘Ike mural at top of koa wood staircase.

On entering the hall, one is immediately struck by a sense of movement and openness.

Pacific Island artists, including renowned Hawaiian masters Meleanna Meyer, Al Lagunero, Harinani Orme, Kahi Ching, Solomon Eos and 10 students, and was painted at the museum in May 2013. The three-dimensional mural can be moved and changed, reminding the viewer that art is not static, and contributing to the hall’s goal of being an interactive and innovative space.

The Pacific Hall’s exhibits are organized conceptually, rather than chronologically or geographically, to illustrate the theme of interconnectedness. Long feather cloaks, masks made from human hair and tall, carved drums join displays of spiritual idols and models of canoes. Ancient works of art are presented

is immediately

and openness.

alongside contemporary pieces. Everyday items are shown with the tools that were used to make them. Items from different cultures, but used for similar purposes, appear side by side.

The great majority of artifacts that make up the Bishop Museum’s collection are the result of archaeological discoveries and fieldwork by museum scientists and researchers, and many of the Pacific Hall’s new exhibits are devoted to them and their special art. Exhibits under the theme “How Do We Know What We Know?” show how scientific techniques and areas of study including DNA testing, carbon dating, linguistics and archaeology have provided evidence of common ancestral ties, migratory patterns and other discoveries that revise the timeline of how and when humans settled in the Pacific, connecting the volcanic dots on the map of Pacific history.

The hall honors the adventurous men who had the great vision and wisdom to collect and treasure such artifacts. Among them is Charles Reed Bishop—who founded the museum in 1889 in honor of his wife, Princess Bernice Pauahi, and to enrich and delight the people of Hawai‘i—traveled to Papua New Guinea, New

Zealand, the Solomon Islands and New Hebri-des, amassing a collection that would make the Bishop one of the world’s leading museums of Polynesian culture. King David Kaläkaua was also a great traveler (the first royal to circum-navigate the world) and collector, leading an expedition to Samoa where he collected pre-colonial artifacts. Director of the museum from 1937 to 1951, Te Rangi Hiroa (Sir Peter H. Buck) was the son of a Maori chiefess and an Irish father. His work enabled the museum to expand and enhance its collection, cement-ing its reputation as a world authority on the culture and natural environment of the Pacific. A small alcove at the top of the stairs is dedicat-ed to him; cultural specialists and visitors from throughout Oceania often bow to honor him in the way he honored the Pacific peoples.

Pacific Hall is a journey across time and imagination, a place that illustrates how, as writer and anthropologist Epeli Hau‘ofa said, “Oceania is us.” ❀

The Bernice Pauahi Bishop Museum is located at 1525 Bernice St., Honolulu, 808.847.3511, www.bishopmuseum.org.

Impressions

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THIS PAGE: (From left) Female deity, most likely Hikule‘o, from Tonga; slit drums from Vanuatu, at entrance to hall; Pacific Island clothing display.

Pacific Hall is a journey across time and imagination, a place that illustrates how ‘Oceania is us.’

OAHKA_140600_Impressions_Bishop.indd 26 5/12/14 9:49:08 AM

Gifts

Seafrom the

Gifts

SEAfrom the

Püpü ‘o Ni‘ihau Shell Leis of Ni’ihauTHROUGHOUT the history of the islands,

Hawaiians wore leis as ornaments. On Ni‘ihau, the privately owned island off the coast of Kaua‘i,

the tradition of sewing seashells, püpü ‘o Ni‘ihau, into leis of unsurpassed beauty has continued uninterruptedfor hundreds of years. Today descendants of lei makers

and their children continue the time-honoredtradition of making lei püpü ‘o Ni‘ihau.

29THE KAHALA

By Linda Paik Moriarty

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The name given to a particular lei püpü ‘o Ni‘ihau depends upon whether the em-phasis is on the style of the stringing or the type of shell featured or a resemblance to a particular flower. There are a number of styles of stringing, and it is easiest to un-derstand the styles by noting whether there were one, two or four threads used in the lei. If a lei is made solely from one shell

variety it is sometimes named for the shell such as the lei kahelelani.Lei kui pololei, a style using a single thread and sometimes referred to as the “old fashioned”

style. Traditional wedding leis are most often strung in this manner as were the older leis used by royalty. These early leis were one continuous strand of shells sometimes measuring up to 75 feet. This very long lei was wound multiple times around the neck, sometimes in graduated lengths from below the waist to mid chest.

Lei kui pikake (or lei pikake) and lei kui poepoe, a style using two threads that are tied alternately to secure the shells in a symmetrical pattern similar to the pikake flower. Another style, lei kui poe-poe, is similar in technique to the lei pikake. The difference is that the particular spot at which the shell is pierced gives the finished effect of a tightly wound rope. Lei kui pikake and lei kui poepoe use the momi shells. This style appeared in the late 1940s. Prior to that most leis were kui pololei. When the kahelelani shell is sewn in this style, it is called tied kahelelani or kahelelani poepoe.

When four strings are used to make a lei with momi using the same technique as the lei pikake, the effect resembles the inflorescence of the coconut and thus the name “coconut” for the style. When stringing the kahelelani, the style is referred to as pähä. Using four strings requires great

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ABOVE LEFT: LEI KIPONA IS A LEI SEWN USING A MIXTURE OF SHELLS. ABOVE RIGHT: THIS LEI KAHELELANI IS MADE OF

SHELLS OF A VERY RARE COLOR. PREVIOUS PAGE: AN EXAMPLE OF LEI KAHELELANI, KUI POEPOE (TIED KAHELELANI).

THE MULTI-HUED SHELLS ARE A KALEIDOSCOPIC WORLD, FOREVER CHANGING IN DESIGN WITH EACH CREATIVE EFFORT.

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skill and utilizes a large number of shells. These lei styles were developed by today’s younger lei makers, some of whom are men in their twenties. It is this generation of lei makers whose creativ-ity is challenging the limits of style and technique.

Lei kui wili or lei wili, literally meaning a lei sewn by twisting or winding. The shells, usually kahelelani, are strung singly and then wound around a cloth foundation that has been rolled and sewn tightly. A pattern is formed by the calculated selection of shell colors so the finished lei takes on an overall pattern of stripes and sometimes diamond patterns. Mama Kelley, now deceased, is credited with creating this style using kahelelani. Lei wili are usually short leis used as chokers or for hats. A number of prominent kumu hula (master teachers) wear this lei at the annual Merrie Monarch Festival in Hilo.

Lei kui papa, similar in style to feather headbands. Shells, instead of feathers, are sewn in lay-ers on a cloth foundation. Lei kui papa are usually short and meant for a hat. This style is rarely used today, although some of the finest examples of Ni‘ihau shell leis from the 1940s are in this style and utilize the ‘ölepe, a bivalve that occurs in a range of pastel shades. ‘Ölepe are collected today, but none of the lei makers have been able to successfully replicate this lei.

Lei kui kipona or lei kipona, lei sewn with a mixture of shells. Lei kipona is any lei that com-bines a wide variety of shell types and color. A common combination is a mixture of momi and kahelelani. The styles vary in that they may be lei pololei or lei pikake or coconut style. Lei kipona challenges the creativity of the lei maker. Each lei kipona is uniquely individual. Some lei mak-ers are known by their signature lei. There is friendly competition amongst the women to see who has the “newest style” lei.

Lei kui helekonia, a relatively recent style utilizing two strings and using both the momi and kahelelani. It is so named because it resembles the showy bracts and flowers of the heliconia (Heliconia sp.) plant.

ABOVE: THROUGHOUT THE HISTORY OF THE ISLANDS, HAWAIIANS HAVE WORN LEIS AS ORNAMENTS. BOTH QUEEN

EMMA AND QUEEN LILI‘UOKALANI WERE AVID COLLECTORS OF NI’IHAU SHELL LEIS.

LEIS ARE GIVEN IN PRAISE. THEY ARE GIVEN IN THANKS.

THEY ARE GIVEN FOR NO REASON, EXCEPT THAT ONE

FEELS ALOHA FOR SOMEONE.

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Lei makers also have their favorite (punahele) lei. A perennial favorite is lei roselani which combines momi ke‘oke‘o (white) and kahelelani äkala pua sewn in the pikake style. Another favorite is a new style called “crown flower” as it looks like the flower. It is also called “lili‘u” after Queen Lili‘uokalani.

Ni‘ihau men generally do not wear lei püpü ‘o Ni‘ihau except for the lei ‘älïlea which is made from large shells, Strombus maculates, which measures up to 14 mm. ‘Älïlea have a thick shell wall, making it very difficult to pierce. The men will do the piercing of these shells and also wear them. Ni‘ihau cowboys sport these leis when riding in the Kamehameha Day parade on Kaua‘i and at Ni‘ihau family lü‘au.

Today the Ni‘ihau women and their families spend a great deal of their time in the manufac-ture of lei püpü ‘o Ni‘ihau. They have clearly taken to heart the old adage, “Idle hands are the devil’s workshop.” Every spare minute is spent processing the leis. Shells are everywhere, always near so that when the women sit to “talk story” they can work. Younger lei makers are developing new and innovative styles each year and in many cases are surpassing their mothers in the design and quality of the lei. Today’s leis are the best they have been. Without a doubt this is the “golden age” of lei püpü ‘o Ni‘ihau!

For the women of arid Ni‘ihau, devoid of the fragrant flowers and vines of the windward islands, the shells are their flowers. In a landscape limited to white sand, reddish-brown earth, blue sky, and the green of kiawe and cactus, the multi-hued shell leis are a kaleidoscopic world, fragile and stimu-lating, yet forever changing in design with each creative effort. Lei püpü ‘o Ni‘ihau are the garlands, the jewelry, the symbol of aloha for the people of Ni‘ihau. Leis are given to family and friends for special occasions. They are worn as jewelry. They are given in praise. They are given in thanks. They are given for no reason, except that one feels aloha for someone. They are the visualization of what is unequivocally Hawaiian. `

Excerpted from Püpü ‘o Ni‘ihau: Shell Leis of Ni‘ihau by Linda Paik Moriarty, published by the Honolulu Museum of Art. Used by permission.

ABOVE LEFT: LEI WITH COWRY-SHELL CLOSURE. ABOVE RIGHT: A PERENNIAL FAVORITE, THE “CROWN FLOWER” LEI IS

SO NAMED BECAUSE OF ITS RESEMBLANCE TO THE FLOWER; IT IS ALSO CALLED “LILI’U” AFTER QUEEN LILI‘UOKALANI.

FOR THE WOMEN OF ARID NI‘IHAU, DEVOID

OF THE FRAGRANT FLOWERS AND VINES OF THE WINDWARD

ISLANDS, THE SHELLS ARE THEIR FLOWERS.

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Lorem ipsum dolore volore et nuisam subhead

BY MICHAEL WEBB

THE

SPIRIT OF HAWAI‘IArchitects draw inspiration from the beauty of the Islands

BY MICHAEL WEBB

THE

SPIRIT OF HAWAI‘I

OAHKA_140600_Architecture.indd 36 5/12/14 9:59:54 AM

37THE KAHALAINSPIRED DESIGN I Wide-eaved corrugated metal roofs are a principal feature of Kundig’s Slaughterhouse Beach House.


38


39THE KAHALA

T he best architecture responds to climate and site, making good use of local resources. Fifteen hundred years ago, the first settlers of the Hawaiian Islands had no choice. Paddling their canoes across 2,400 miles of ocean, they traveled light, bringing only livestock and plants to sustain them. For shelter, they employed indigenous materials: thatched huts rising from platforms of lava rock with walls of leaves and grasses. Stone was used for palaces and temples. This blissful Eden survived until the 1820s, when Western missionaries and merchants began shipping precut lumber to reproduce the New England, Greek Revival and beaux arts buildings they had grown up with. The Alliolani Hale of 1874 and the ‘Iolani Palace and Coronation Pavilion of 1882 show how the last monarchs of Hawai‘i copied the pompous styles of European rulers.

A tide of new settlers flooded in when the Islands were annexed by the United States in 1898, launching a building boom in Honolulu. Ranch houses with shady porches—an informal, appropriate building type—were built on the sugar and pineapple plantations. Prosperity drew architects from the mainland—notably Julia Morgan, who designed the widely admired Honolulu YWCA, with its mission-style loggias and courtyard. Hart Wood, an architect from Pennsylvania, moved to Honolulu in 1919, and erected houses, plantation buildings and pumping stations.

The most influential architect of the interwar period was C.W. Dickey, who grew up in Maui, studied architecture at MIT and opened an office in Honolulu in 1895. His Alexander & Baldwin Building and his Kamehameha School for Girls date from the 1920s and 1930s. “Hawaiian architecture is a type distinc-tive to itself,” he declared, “and Mediterranean styles must be adapted to local conditions before they are at all suited to the Islands.” He favored open spaces and fewer walls to allow trade winds to circulate, and projecting eaves to provide shade and shelter from rain. The double-pitch hipped roof of the house he built for himself in 1926 was later named for him and widely imitated.

In the 1940s, Vladimir Ossipoff, born of Russian parents in Tokyo, movedto Honolulu after graduating from UC Berkeley. He became the first master of modern Hawaiian architecture, creating airy, open structures, notably the Liljestrand House. Edward Killingsworth’s Kahala Hotel achieved similar goals on a much larger scale. In the same year, 1963, Kendrick

Bangs Kellogg, a maverick from San Diego, completed the Onion House on the Kona coast of Hawai‘i. The fledgling architect, who was still in his 20s, took his cues from the native hapu‘u fern and giant clamshell, and from platforms used in ancient religious ceremonies. Domes formed from curved translucent fiberglass panels are crowned with steel spires. Openings pull in fresh breezes and vent hot air from the living areas and master suite. Concrete arches radiate from the fire-places to support the fiberglass panels, and koa wood is

ROOMS WITH A VIEW I (Counterclockwise, from left)Kundig’s Slaughterhouse Beach House, Maui; one of its three pavilions; two interior views of Olson’s Ocean House, inspired by Balinese palaces and temples.

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41THE KAHALA

laminated to form an arched canopy 100 feet long that ties together the constituent parts of the house.

These works of art were the exceptions in a wave of stan-dardized commercial and residential buildings better suited to the mainland. Construction boomed in the 1970s and 1980s, provoking a backlash. Design controls were introduced to foster a Hawaiian sense of place. Though well intentioned, mandatory guidelines did little to raise the standard of build-ing. In 2003 they hosted a symposium on the theme “Are we, the architects and designers of Honolulu, creating an exciting future for our city?” The public response was overwhelmingly “No!” and many deplored the uninspired and banal knock-offs of territorial style—a mash-up of beige walls, Polynesian motifs and Dickey-style roofs.

Happily, a new generation of mainland architects has been inspired by the beauty of the Islands to create houses that challenge the rules and create a new paradigm for liv-ing in an earthly paradise. They share a desire to open up to nature, to achieve sustainability and to rely on natural ventilation rather than mechanical air-conditioning. Los Angeles-based Hagy Belzberg spent a year researching local conditions before designing a house on the Kona coast. He and his client struggled with a design review board that seemed intent on preserving the status quo. Eventually agreement was reached for a house that is rooted in the landscape, with open axes that link views of ocean and volcano. Belzberg created a platform of local basalt and used recycled teak that was milled in patterns inspired by palm trees and ripples in the sandy beach. To draw power from the sun, he used photovoltaic panels; other local builders have followed his lead.

The Seattle partnership of Jim Olson and Tom Kundig has designed several houses on the Islands. Olson’s Ocean House near Mauna Kea is located on a promontory of exposed lava and was inspired by Balinese palaces and temples. Three pavilions of concrete and glass, accented with teak and bronze, rise from a lava stone base. All the rooms and connecting walkways open onto courtyards that shelter plantings from wind and sun. An outdoor pool seems to pull the ocean into the heart of the house.

Kundig’s Slaughterhouse Beach House is perched on a rocky bluff overlooking a celebrated Maui surfing beach. It comprises three pavilions, with wide-eaved corrugated metal roofs that are a principal feature of this family retreat. “Using the Dickey-style roof as a starting point, the design was turbocharged,” Kundig explains. “We shaped the roof forms and openings to cre-ate negative pressure so that breezes suck hot air out of the house.” These shady canopies are comple-mented by large operable window walls, including two swing-up walls on the center pavilion.

The Los Angeles partnership of Sharon Johnston and Mark Lee was inspired by the Mission Chapel in Hanalei in designing a newly completed house on Kaua‘i. Like their peers, they inter-preted the design guidelines in a creative way, abstracting rather than mimicking historical mod-els. They used prescribed materials for the roof but simplified the form, and applied earth tones to the walls while avoiding beige. Sheltered courtyards channel breezes through the house.

These three architectural firms are the spearhead of a movement that is forging an architec-ture as timeless and appropriate for Hawai‘i as the simple shelters of the first settlers.❀

ALONG THE KONA COAST I (Opposite) Open axes and teak wood, components of this Hagy Belzberg house. (This page) Translucent fiberglass domes and concrete arches of Kendrick Bangs Kellogg’s Onion House.

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STORY BY mArI TAKETA PHOTOGRAPHY BY cArIn KrASnEr

OAHKA_140600_Food.indd 42 5/12/14 2:33:59 PM

43THE KAHALA

FORGET THE PHRASE “ethnic ingredients”—that’s for the aisles of mainland super-market chains. Perhaps more than anywhere else on the planet, food items that are usually considered ethnic are part of a home cook’s everyday ingredients in Hawai‘i’s rainbow of cultures. A peek into the kitchens of longtime kama‘aina (local) families will probably reveal fiery Korean kim chee, Japanese fish cake and a handy jar of hoi-sin or black bean sauce—all available at virtually every supermarket in the Islands.

How did this literal melting pot happen? The story goes back to Hawai‘i’s sugar cane and pineapple plantations, where field laborers from China, Japan, the Philippines, Korea and Portugal gathered at midday and began sharing their lunches. By the time plate lunches appeared on the scene, combining rice and macaroni salad with gener-ous entrées like hamburger curry, Chinese roast pork and, later, Korean kalbi beef and Japanese chicken katsu, locals of all ethnicities were celebrating each other’s food.

Today, fusing ingredients from different cultures is a signature of Island-style dining at every level. Take Jan Nagano’s Any Kine Lettuce Wraps. A marketing professional who often faces a long drive home to Waimänalo from client meetings

(OPPOSITE) JAN NAGANO'S ANY KINE LETTUCE WRAPS, A SPIN ON THE TRADITIONAL VIETNAMESE LETTUCE WRAPS, COMBINE BUTTER LETTUCE, CUCUMBERS, MINT, BASIL AND FISH CAKE.

STORY BY MARI TAKETA PHOTOGRAPHY BY CARIN KRASNERPROP STYL IST KIM WONG FOOD STYL IST KAREN GILL INGHAM

WISTST ETHNIC

A fusion of ingredients creates Hawai‘i’s culinary melting pot

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in Honolulu at the end of the day, Nagano puts a premium on dinners that are healthful and easy to prepare. Her wraps are a spin on traditional Vietnamese lettuce wraps, which combine fresh vegetables and herbs with anything from minced shrimp steamed on sugar cane stalks to deep-fried spring rolls.

“It was really a matter of what I had in the fridge,” Nagano says. “One night I had butter lettuce, cucumbers, mint and basil, and then I saw fish cake. I thought, ah! Fish cake goes with anything. The peanut dipping sauce ties everything together, and it’s all so easy.”

Fish cake, a mildly sweet fish paste that’s steamed or deep-fried, was just the start. From there, Nagano discovered she could substitute almost any leftover protein—chicken katsu, roast pork, tofu, even scrambled eggs—and voilà! She had a fresh, healthful dinner that was also fun to eat. Now she serves colorful platters of the wraps at pupu parties with friends.

The Kosaka family’s BBQ Fruit Spareribs, on the other hand, are a special-occasion meal. Marjorie Kosaka found a recipe in a 1961 Island cookbook and adapted it, rounding out the marinade and sauce’s brown sugar and soy base with garlic, ginger and ketchup to suit her taste. And then, to lift the meat with a fruity dimension, she opened a jar of tropical fruit jam and stirred that into the mix.

The recipe was an immediate hit with her family. Marjorie’s daughter, Melanie, recalls that because of the boiling, cooling and overnight marinating time, the ribs were a special treat reserved for Christmas dinner. After presents were opened, her parents fired up the grill, and the aroma of the ribs filled the house. “We just used whatever jelly or jam was on sale at Long’s,” says Melanie. “Sometimes it was pineapple, sometimes it was guava or papaya. It’s just a tried-and-true recipe.”

Today Melanie makes the ribs for her daughter, Akiko, who counts them among her favorite family dishes. She’s not the only one. That pan-Asian combination of sugar and soy, garlic and ginger and ketchup, and the charming local touch of tropical fruit jam, is what cousins returning on break from mainland colleges crave as well. At the Kosakas’, the aroma of ribs fills the house more than just once a year now.

In the kitchens of The Kahala, the fusion tradition can be found in everything from

(THIS PAGE) THE KAHALA'S WON BOK KIM CHEE BLENDS KOREAN CABBAGE WITH GARLIC, ONION, DAIKON AND GINGER. (OPPOSITE) THE KAHALA'S PIPIKAULA KIM CHEE REUBEN SANDWICH.

ON THE KITCHEN SHELF

Food items that are usually

considered ethnic are

part of a home cook’s everyday

ingredients in Hawai‘i’s rainbow of

cultures.

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45THE KAHALA


THE KAHALA 47

comfort foods to haute cuisine. Few dishes showcase this better than the Plumeria Beach House’s Pipikaula Kim Chee Reuben sandwich.

Let’s take a moment to deconstruct this juicy, meaty flavor bomb. A Reuben, of course, combines corned beef and sauerkraut with Swiss cheese and Russian dressing on rye bread—itself a cross-cultural phenomenon. At The Kahala, corned beef is swapped out for pipikaula, a Hawaiian dried beef that arose after Westerners introduced cattle to the Islands and Chinese immigrants brought soy sauce.

And kim chee? A spicy Korean pickled cabbage eaten as a condiment with every traditional rice meal. (It’s not hard to make, as you’ll see from The Kahala’s accom-panying recipe, but do note that kim chee will sour the longer you leave it in the fridge. Some people prefer the sweeter taste and firmer texture of fresh kim chee, while others insist it’s not ready until it’s been in the fridge at least a week.)

At the Plumeria Beach House, pipikaula meets kim chee meets fresh avocado, Thousand Island dressing and Swiss cheese, all between crispy slices of grilled, buttered rye bread. Now that’s Island-style fusion!

A CULINARY BLEND

Today, fusing ingredients from differ-ent cultures is a signature of Island-style dining at every level.

(OPPOSITE) MARJORIE KOSAKA'S BBQ FRUIT SPARERIBS ARE MARINATED OVERNIGHT IN A SAUCE THAT COMBINES TROPICAL FRUIT JAM WITH KETCHUP, SHOYU, BROWN SUGAR, SHERRY, GARLIC AND GINGER.

The Recipes

Pipikaula Kim Chee Reuben

6 1⁄2 oz pipikaula, thinly sliced

2 oz kim chee, squeezed dry—

roughly chopped

1 oz Thousand Island dressing

2 oz avocado—sliced

2 1⁄2 oz Swiss cheese slices

2 oz clarified butter

2 pc sliced rye bread

3 oz french fries

In a small hot sauté pan, add 1⁄2 amount clar-

ified butter, then add in the sliced pipikaula

and sauté until hot.

While sautéing the pipikaula, in another

nonstick pan large enough to hold the 2

slices of rye bread, add the remaining butter.

Allow pan and butter to get just hot. Add

the bread and top with Swiss cheese.

Allow bread to get light golden brown,

then add the sliced avocado, then the hot

pipikaula to one side of the rye bread. Top

with the kim chee and Thousand Island

dressing and cover with the other bread.

Place in pre-heated 350°F oven for 3-4 mins

or until bread is golden brown.

Remove from oven. Slice in half and serve

with french fries.

Won Bok Kim Chee

1 head won bok cabbage

2 c Hawaiian salt

1 daikon (radish), julienned

2 pears

2 round onions

4-5 oz. fresh peeled ginger

8-10 cloves garlic

¾ c paprika

1⁄2 c kim chee base

Sugar, to taste

2 c green onions, cut into 2-inch “sticks”

1⁄2 c white sesame seeds, toasted

Peel off the leaves of the won bok and rinse.

Cut the cabbage leaves into quarters and

add 2 cups of the salt. Let the cabbage sit

for 1 hour or until it softens, then rinse with

fresh water. Squeeze out the excess water.

Peel and chop the pears and onions. Blend

pears and onions in a blender (if needed,

add a little water so they mix well). Add the

ginger, garlic, paprika and kim chee base

and blend thoroughly. Add sugar if desired.

Mix the kim chee seasoning, green onions

and sesame seeds with the cabbage and

daikon and let sit overnight. Makes 2 quarts.

BBQ Fruit Spareribs

Sauce

¾ c brown sugar

½ c shoyu

1∕8 c sherry

½ c ketchup

½ c guava, pineapple or papaya jam

1 clove garlic (minced)

1 tsp salt

2 tsp ginger (grated)

Ribs (seasoning)

1 tsp salt

1 bay leaf

2 one-inch slices of ginger

2 cloves garlic, crushed

5 whole black peppercorns

2 tbsp white vinegar

3 lbs baby back or spareribs

Place the ribs (cut into 4 to 5 sections) in a

large stock pot and cover with cold water.

Add the seasoning and bring water to a

simmer. Continue simmering until ribs are

cooked through. Remove ribs from water

and set aside to cool in a large bowl or pan.

Sauce

While the ribs are cooling, prepare the

sauce by combining all the ingredients.

Marinate cooled ribs in sauce overnight.

Cook ribs over low to medium heat on a

charcoal grill. If grill is too hot, ribs will burn.

Any Kine Lettuce Wraps

Lettuce—butter or red leaf

Cucumber, cut into thick strips

Fresh mint

Fresh Thai or other basil

Bite-size strips of tempura fish cake,

chicken katsu, crab or imitation crab, sliced

steak or fried tofu

Dipping Sauce

2 tbsp peanut butter

4 tsp rice vinegar

1 1⁄2 tsp sugar

Sriracha sauce or minced jalapeños

4 tsp soy sauce

1/3 c oil

Splash of sesame oil (optional)

Place tempura fish cake or other filling

on lettuce leaf with cucumber, basil and

mint leaves. (It will look like an open-face

sandwich with the edges of the lettuce

leaves curling in.) To serve, arrange wraps in

concentric circles on a round platter. Serve

dipping sauce on the side.

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An Enduring TRADITIONThe historic Natsunoya Tea House

49THE KAHALA

BY THELMA CHANG PHOTOGRAPHY BY LINNY MORRISBY THELMA CHANG PHOTOGRAPHY BY LINNY MORRIS

An Enduring TRADITION

If the Natsunoya Tea House could talk, the stories it would tell. Much more than a tale of tea, this historic and family-owned business sits on an

acre of land at lower ‘Alewa Heights in Honolulu and has survived decades of changes since the 1920s, from the era of sugar plantations to statehood and beyond. During its heyday in the middle of the 20th century, the Japanese teahouse was one of an estimated 30 such establishments on O‘ahu. By the dawn of the 21st century, there was only one: Natsunoya.

Like the others, Natsunoya served a largely local community of people who enjoyed the Japanese food, drink, atmosphere and culture found within. The private party rooms. Tatami (straw) mats. Wood panels of carved bamboo and cherry blossoms on ceiling borders. Old sepia-toned pictures of a bygone time.

Natsunoya (“Summer House”) has witnessed the joys and sorrows of people, humble and great, who laughed, cried and sang at the banquets, weddings, birthdays, reunions, funeral memorials, business meetings and other rituals of life held at this site.

Hawai‘i’s late Governor John A. Burns (1909-1975), for instance, served as host to for-mer First Lady Jacqueline Kennedy during her visit to the Islands in 1966. American and Japanese celebrities have also graced the various dining rooms, including movie star John Wayne, football legend Terry Bradshaw, Japan’s veteran samurai actor Hashizo Okawa and contemporary pop singer Ayako.

Hawai‘i-born sumo wrestler Konishiki and his hefty colleagues enjoyed more than a dainty spot of tea. “They sure ate a lot and had lots of fun here,” recalls Maureen Matsuda, the granddaughter of Shuuji Fujiwara, founder of the teahouse. “Jack Lord, from the origi-nal Hawaii Five-0, dined here with his wife, Marie.”

Greeted by friendly waitresses dressed in colorful kimono or waiters wearing simple black slacks and white shirts, the guests likely had their shoes placed at entrance racks and their appetites whetted by selections such as the traditional tempura, yakitori, teriyaki, sushi and somen (noodles).

Today, first-time visitors may easily miss the mod-est two-story building that blends with the numer-ous homes that have grown around it through the years. However, one treasure remains untouched—a

THIS PAGE: Tatami

room with panoramic

views of Honolulu

(left); server Jessica

pours tea. PREVIOUS

SPREAD: Wedding cel-

ebration, 1950s (left);

Jessica in the tea

house garden.

panoramic view of downtown Honolulu, the Aloha Tower, Punchbowl and Pearl Harbor. At twilight, a sea of dazzling city lights competes with the emerg-ing stars above.

Grandfather Fujiwara, an American citizen, would have been proud. Back then he struggled mightily to create his vision on wilderness land. “He built his own road, put up utility poles and carried the materials up the hill on his back,” says Laurence Fujiwara Jr., the third-generation owner of the tea-house. “We’re remodeling today and found that the original structure built in 1921 is solid.”

Fujiwara also remembers family stories about the dark days of World War II. His grandparents had no idea that a visitor, a Japanese national named Mr. Yoshikawa, had other intentions at the tea-house besides dining and drinking. Using the wide view from the area, Yoshikawa focused a telescope on Pearl Harbor and monitored ship movements months before December 7, 1941.

At wartime, the teahouse was used as an American community gathering site, with families helping families to cope with difficult times. And decades later, one of the prominent pictures on a wall in the hallway features a 50th-reunion photo of a group of 442nd Japanese American infantrymen who fought with courage and distinction in Europe, becoming one of the most deco-rated units of their time.

“[442nd veteran and U.S. Senator] Dan Inouye was also a guest here,” says Matsuda. “Also Edwin Meese, President Ronald Reagan’s attorney general.”

Depending upon their party size, guests today may choose from different venues at the teahouse, such as the large banquet hall on the ground floor, two rooms upstairs and the two cozy cottages outside. Stand by the little fish pond and listen. You may hear the sounds of laughter, clinking glasses, karaoke singing and card-play-ing, as some of Hawai‘i’s elite relax after a hard day’s work.

Today, more than 30 employees, including kitchen staff, waiters and waitresses, accom-modate their daily customers with traditional Japanese fare that has evolved over time for younger, sophisticated tastes.

“We’ve tweaked the food to please the clientele who like more dramatic flavors,” says Fujiwara. “Sushi, for example, includes specialties like spicy ahi, California rolls and so on. Soft shell crabs have their own special sauces.”

A dinners-only policy started by Grandfather Fujimura changed through time to include lunches, catering services, bento (lunch) boxes and a sushi bar. “An individual can walk into the bar, sit at the counter and order,” says Kehau Mano‘i, a Natsunoya res-ervationist. “Diners can see the telescope Mr. Yoshikawa used. It’s mounted on the wall in a showcase.”

Such history is enhanced by the fact that Natsunoya is the last remaining teahouse on O‘ahu and a lone reminder of a bygone era. The gentle knoll and its surroundings are now prime real estate with fabulous views, a far cry from a humble beginning more than 90 years ago when Grandfather Fujiwara lugged rocks and poles up a hill to build a dream. ❀

THIS PAGE: Natsunoya

Tea House master

sushi chef Shoji

Sakamoto, “Sho-San”

(top); charming

grounds surroud-

ing the tea house

in ‘Alewa Heights

(above).

THE KAHALA52

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Memory Book

Forging Closer TiesIn April 2014, The Kahala was the site of an informal, three-day

meeting between U.S. Secretary of Defense Chuck Hagel (above, in plaid shirt) and defense ministers from the Association of Southeast Asian Nations (ASEAN), the first such meeting of

ASEAN ministers to be held in the United States. Honolulu was the first stop on Secretary Hagel’s trip to 13 Asia-Pacific countries.

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the kahala magazine, volume 9, issue 1 2014

Documents

pmc o n t e n t svolume

spirit of hawaii

todays mainland architects

michael webb

kind of art

depar tmen t s13 profiles

mainland architects

western european buildings